High-contrast negative photograph of a heraldic graffito on a pier in the Lady Chapel.

Medieval heraldic and symbolic graffiti

September 26, 2021

Seventeen graffiti in the shape of a heraldic shield are recorded, probably among the earliest informal medieval designs, and a plethora of curious signs and symbols accompany the numerous crucifix or pilgrim crosses.

5.10 Heraldic shield high on the east wall of the north quire transept, with possibly associated inscription.

A typology is presented (5.8). Several fragmentary examples occur on the small section of wall to the north of the supposed site of an altar of St Peter in the south quire transept. Most of these medieval graffiti consist of either single outlines of a shield shape, or else basic heraldic charges of a single chevron or bend. One of the finest surviving examples occurs on the north arcade of the Lady Chapel in amongst a cluster of possible cult marks (5.9). In several examples like this, the artist has used a chequered pattern to suggest the tinctures (colours) of the herald. Without knowing the tinctures, the majority of heralds would have always been unidentifiable. Because of their simplicity, they are probably from the early days of heraldry, the late twelfth and thirteenth centuries. That so many of these anonymous designs occur at a kneeling height suggests this tradition may have had more of a spiritual dimension than modern commemorative inscriptions. An exemplar to these trends occurs 3m high in the north quire transept (5.10). This is the largest heraldic graffito in the building and may include stylised initials. Like the ship previously described, this must have been created from atop box pews or scaffolding.

Rectilinear

Graffiti comprised of straight lines are far fewer in number than curvilinear designs (5.11 and 5.12). Some do show affinities with previously described ritual forms, but none recur in enough numbers that might provide evidence for established practices or traditions. Rectilinear designs are found consisting of lines of drilled holes (5.13A, B and E). Three such examples occur within the sedilia, amongst several alphanumeric inscriptions. They resemble boredom doodles or perhaps games broadly analogous to Squares. Lozenge designs (5.13C and D) are slightly more numerous. Many of these also appear to be idle doodles, although perhaps some represent a form of merchant mark, monogram or unknown apotropaic or votive design. Several designs superficially resemble the Union Jack, although another similar example with additional diagonal components casts doubt on this interpretation (5.13G). Cuboidal designs such as that found on a pier in the crypt are known to be a modern design (5.13I). Grid designs comprise the remaining recorded rectilinear graffiti. The use of rectilinear ‘reinforcement’ of curvilinear designs occurs at other sites. It is conceivable that some grid-like graffiti may have overlain disappeared painted features (5.13H and J).

5.11 Distribution of linear geometric, crucifix and symbol graffiti. West end ground floor (above) and nave triforium (below). Examples provided in 5.13 to 5.15 are labelled.

5.12 Distribution of linear geometric, crucifix and symbol graffiti. East end first floor (above) and crypt (below). Examples provided in 5.13 to 5.15 are labelled.

5.13 Ten recorded examples of linear geometric graffiti.

5.14 Typology of inscribed graffiti comprising or including symbols.

5.15 Typology of cross and crucifix graffiti.

5.16 Medieval hearth in the room beneath the Chapter Library and adjacent to the Chapter House, discovered during excavations in 2015. An original stone bench lines the walls, indicating its possible use as a warming house. A large curvilinear graffito is on the Caen pilaster buttress to the right.

Symbols

Other symbolic graffiti occur in some number. A small sgraffito mitre survives on the plaster next to the late-twelfth/early thirteenth-century graffito of a standing figure, thought by Livett to be a Bishop (5.14A). It may be that this apparent note dates from the time of the identification of this figural scheme in the late nineteenth-century. This example serves to illustrate the difficulty of interpreting symbols potentially created near features which no longer exist.

Examples in this category include arrows (5.14B), several love-hearts (5.14C) and A Star of David close to a small faded painting of Christ on the fourth-west pier of the nave (5.14G). Champion notes the comparatively rare occurrence of the pentagram in the Norfolk survey, although it is one of the few designs with a contemporary reference detailing its myriad symbolism (Champion 2015, 47). Several other pentagrams are recorded (5.14F), although an identical masons’ mark complicates their identification in the nave. Another example of a similar form is a comparatively large eight-point star on the north arcade of the Lady Chapel (5.14H). Other symbolic examples include possible as-yet-unidentified merchant marks or monograms (5.14D, E, I and J). Two designs do appear to incorporate names and initials (5.14D and E). A graffito somewhat resembling a Solomon’s Knot is located on the fourteenth-century tomb of Hamo de Hythe (5.14L).

5.17 (Left) Re-photo. Graffiti on a pilaster of the Chapter House, also the south wall of the warming house, and (right) musical note graffito on a pier case in the north-west corner of the Chapter House.

The most numerous form within this category are the thirty-five recorded graffiti in the form of a cross or crucifix (5.15). Elsewhere these forms have traditionally come to be known as pilgrim crosses, although this association does not seem to be supported by the relative paucity at Rochester Cathedral, on the major pilgrimage route in England. It could be that a significant number of simpler cross designs could consist of incidental marks (5.15A and B). In one example, repeated crosses seem to have been used to mark a recurring event (5.15H), perhaps a visit or pilgrimage, or perhaps three prayers (for three people?). Several consist of four drilled holes connected by two incised lines forming the cross (5.15C). Twelve such designs occur. Other forms include those consisting of six lines (5.15D and E), clear examples of crucifix (5.15F) and examples incorporated into inscriptions alongside other symbols, perhaps as a merchant mark (5.15G). They do not appear to cluster at any location in the building, and few occur at a kneeling height. A cross is found accompanying the fragmentary, possibly apotropaic curvilinear design outside the old north door. An intriguing example survives high on the east wall of the North Quire Transept (5.15I), near a heraldic shield and several other seemingly medieval or Early Modern designs. Filling this deeply incised crucifix is an unidentified white plaster-like substance with protruding white natural fine fibres.

Ernulf’s Chapter House

Several intriguing graffiti survive on the sheltered fabric of the Chapter House and in the room beneath the Chapter Library adjacent to this. Excavations in 2015 discovered an original medieval stone bench along at least the eastern 6m of both the north and south walls and at least part of the east wall (5.16). A 0.9m² late medieval tiled hearth was cut into earlier earth floors (Ward and Keevill 2019). The floor tiles used to make the hearth were of 15th- or possibly early 16th-century date, a century or more later than the dendrochronology dates from the roof timbers. Given the presence of an integral bench around the walls it is tempting to suggest that the hearth had replaced an earlier (i.e. later 14th-century) one in the same location. The room was then possibly the monks’ warming house, and the hearth an alteration made in the early 1540s for the short-lived royal palace. On the Caen pilasters on the south side of the room, a circular graffito with a 25cm radius is considerably larger than any other similar design in the building (5.17, left). It would not have been possible to create this circle with a tool the same size as other graffiti in the building, something similar in size to fire tongs would be required. Untranscribed angular script crosses the large graffiti circle.

A small rectilinear graffito within the superstructure of the Chapter House is possibly the only recorded musical note graffiti. It mixes crotchets and minims on a five-line stave with fragmentary bar-lines (5.17, right). Damage to the stonework has obliterated the left-hand side of the graffito. Fragmentary incisions suggest a clef may once have been present. Without this sign, the piece’s pitch is unknown, and at any rate, it does not seem to be a tuneful or coherent piece. The graffito is near to a corbel head of a portly and cheerful-looking monk discovered on the 2015 removal of an early nineteenth-century staircase leading from the Chapter Library. It may be that the graffito represents a cartooned tune emanating from the corbel. The five-line stave suggests this is at earliest a Late-Medieval or Early Modern graffito, possibly coinciding with the use of the Chapter House as part of Henry VIIIs short-lived palace.

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